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Books > Music > Other types of music > Sacred & religious music
Contemporary worship music shapes the way evangelical Christians
understand worship itself. Author Monique M. Ingalls argues that
participatory worship music performances have brought into being
new religious social constellations, or "modes of congregating".
Through exploration of five of these modes-concert, conference,
church, public, and networked congregations-Singing the
Congregation reinvigorates the analytic categories of
"congregation" and "congregational music." Drawing from theoretical
models in ethnomusicology and congregational studies, Singing the
Congregation reconceives the congregation as a fluid, contingent
social constellation that is actively performed into being through
communal practice-in this case, the musically-structured
participatory activity known as "worship." "Congregational
music-making" is thereby recast as a practice capable of weaving
together a religious community both inside and outside local
institutional churches. Congregational music-making is not only a
means of expressing local concerns and constituting the local
religious community; it is also a powerful way to identify with
far-flung individuals, institutions, and networks that comprise
this global religious community. The interactions among the
congregations reveal widespread conflicts over religious authority,
carrying far-ranging implications for how evangelicals position
themselves relative to other groups in North America and beyond.
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Music and the Wesleys
(Paperback)
Nicholas Temperley; Edited by Stephen 0 Banfield; Contributions by Stephen 0 Banfield, Jonathan Barry, Martin V. Clarke, …
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R680
Discovery Miles 6 800
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Ships in 12 - 17 working days
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Providing new insight into the Wesley family, the fundamental
importance of music in the development of Methodism, and the
history of art music in Britain, Music and the Wesleys examines
more than 150 years of a rich music-making tradition in England.
John Wesley and his brother Charles, founders of the Methodist
movement, considered music to be a vital part of religion, while
Charles's sons Charles and Samuel and grandson Samuel Sebastian
were among the most important English composers of their time. This
book explores the conflicts faced by the Wesleys but also
celebrates their triumphs: John's determination to elevate the
singing of his flock; the poetry of Charles's hymns and their
musical treatment in both Britain and America; the controversial
family concerts by which Charles launched his sons on their
careers; the prolific output of Charles the younger; Samuel's range
and rugged individuality as a composer; the oracular boldness of
Sebastian's religious music and its reception around the
English-speaking world. Exploring British concert life, sacred
music forms, and hymnology, the contributors analyze the political,
cultural, and social history of the Wesleys' enormous influence on
English culture and religious practices. Contributors are Stephen
Banfield, Jonathan Barry, Martin V. Clarke, Sally Drage, Peter S.
Forsaith, Peter Holman, Peter Horton, Robin A. Leaver, Alyson
McLamore, Geoffrey C. Moore, John Nightingale, Philip Olleson,
Nicholas Temperley, J. R. Watson, Anne Bagnall Yardley, and Carlton
R. Young.
The performance and composition of liturgical music at El Escorial
re-examined. Philip II of Spain founded the great Spanish monastery
and royal palace of El Escorial in 1563, promoting within it a
musical foundation whose dual function as royal chapel and
monastery in the service of a Counter Reformation monarch was
unique; this volume explores the performance and composition of
liturgical music there from its beginnings to the death of Charles
II in 1700. It traces the ways in which music styles and practices
responded to the the changing functions of the institution,
challenging notions about Spanish musical patronage, scrutinising
musical manuscripts, uncovering the biographical details of
hundreds of musicians, and examining musical practices. Michael
Noone is Professor of Musicology at the University of Hong Kong.
In the 1960s, Jewish music in America began to evolve. Traditional
liturgical tunes developed into a blend of secular and sacred sound
that became known in the 1980s as "American Nusach." Chief among
these developments was the growth of feminist Jewish songwriting.
In this lively study, Sarah M. Ross brings together scholarship on
Jewish liturgy, U.S. history, and musical ethnology to describe the
multiple roots and development of feminist Jewish music in the last
quarter of the twentieth century. Focusing on the work of prolific
songwriters such as Debbie Friedman, Rabbi Geela Rayzel Raphael,
Rabbi Hanna Tiferet Siegel, and Linda Hirschhorn, this volume
illuminates the biographies and oeuvres of innovators in the field,
and shows how this new musical form arose from the rich contexts of
feminism, identity politics, folk music, and Judaism. In addition
to providing deep content analysis of individual songs, Ross
examines the feminist Jewish music scene across the United States,
the reception of this music, challenges to disseminating the music
beyond informal settings, and the state of Jewish music publishing.
Rounding out the picture of the transformation of Jewish music, the
volume contains appendixes of songs and songwriters a selection of
musical transcriptions of feminist Jewish songs, and a
comprehensive discography. This book will interest scholars and
students in the fields of American Jewish history, women's studies,
feminism, ethnomusicology, and contemporary popular and folk music.
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Songs from Heaven
(Hardcover)
J Hoch Lane; Cover design or artwork by Randy Lane
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R600
R493
Discovery Miles 4 930
Save R107 (18%)
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Ships in 10 - 15 working days
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